A women is sitting on a couch while focussing her iron view into the camera and suddenly starts to talk. Out of her grows a canny and calm monologue which manifests her world of thoughts and ideas. The at first independently created monologue starts to get tangled up into contradictions, torn between different views and ideologies. It is a result of phrases taken out from different commercials which were combined into a continuously ongoing monologue. The women monologue turns out to be commanded and alienated by advertisement.

Marko Schiefelbein (*1984 in Stralsund, Germany) is a German artist living and working in Berlin. He studied Art History and graduated in Fine Arts in 2011 from University of Fine Arts Braunschweig (Germany). He is a master student of Prof. Candice Breitz. His works deals with the human estrangement in the century of modern life in a consumer society. His work was shown in

In a small Sequence of a documentary film about the hostage taking at the Olympic Games 1972 in Munich Timo Schierhorn discovers a man on the screen that is similar to a picture of his father in a family photo. Furthermore the filmmaker learns that his father, who had died young, had worked as a BGS official at the Olympics. Additionally, in talking to a friend of his father?s he finds out that his father was given the name Uncle Luten, when he was mimicking his own father.
For the film, ?Night in Olympia?, Schierhorn slips into the roll of this artificial figure whose staged biography investigates the mechanisms of memory and captures, that which has been forgotten, in images. Again and again over the last three years Schierhorn has encouraged his circle of acquaintances to re-enact every-day scenes of his parents, from their small town, between 1972 and 1980 ? similar to the of followers of living history re-enactments. This semi autobiographical film combines super 8 found-footage documentary sequences with staged scenes, which provide filmic links to the home movie memories. The ties between private films auctioned on eBay and the small film documentary performances, try to play two genres against one another: the home and art movie.

Decision of the Party (2008) is a film, which combines Super8 material from today?s Volgograd with parts of the sound track from the Soviet propaganda film The Promise (Kliatva, 1946). In this movie, Joseph Stalin plans and realises ?his? city, Stalingrad (now Volgograd). Thus, the real city of today is juxtaposed with its past medial vision, in turn becoming a projection of its own history within the film.

Real Estate Avantgarde
»Real Estate Avantgarde«, HD, 5:20 min., 2010
?Real Estate Avantgarde? is a fictitious promotion trailer for a real estate investment project in St Petersburg. The investor Igor Burdinsky has purchased the former textile factory ?Red Banner?, a masterpiece of avantgarde architecture, and is now seeking partners to realise a cultural and/or business centre. While the investor draws on the symbolic power of avantgarde architecture, the film in turn appropriates this business strategy.

The film ?Recitando? is the documentation of an encounter between workers from the Moscow paper factory ?October? and two filmmakers from abroad. The film experiments with and combines modes of documentary and fiction, and strategies of theatre and film, in order to investigate into and construct models of cinematography.
The paper production process which seems to be captured in documentary shots is in fact staged for the camera by the workers, since the factory does not pro¬duce anything at the moment ? and this nonproduction is the condition for their appearance as actors in the film. For at the same time, the workers recount and reflect upon their current situation ? being filmed instead of producing paper ? in choric recitations and two songs, delivered in a manner reminiscent of Brechtian ?Lehrstücke?. The customary contrast of documentary and fictional modes, of reality ?caught unawares? and scripted enactment is thus being twisted and deconstructed.
Additionally, the film is continually interrupted by intertitles citing discussions from late 1920s? Soviet cinema ? e. g., about documentarism à la Dziga Vertov and Esfir Shub, about Sergei Eisenstein?s reenactment of the October revolution ten years after the event and the film?s mixed reception, and of the relation between images and text ? thus evoking a friction between early avant-garde cinematography and today?s filmic modes, as well as rendering the question as to who speaks even more uncertain. The two filmmakers may not only come from a different country but even from a different era.
The film thus experiments with different cinematographic models. Instead of pur¬porting to present something which could be considered as a finished film, it at¬tempts to create fissures in the cinematographic texture as spaces for the reflection on different filmic modes, on the interrelations of history of film, and on representa¬tion and reality.
?Recitando? was shot in the Moscow paper factory ?October? (formerly ?Red October?), which was founded in 1924. During Soviet times one of Moscow?s largest paper mills, the residual staff only rarely produces paper today. Parts of the com¬plex have been transformed into the art space PROEKT_FABRIKA, where the film premiered in January 2010.

Romana Schmalisch (1974)
born and based in Berlin
Romana Schmalisch graduated with an MFA from the Universität der Künste, Berlin, in 2002. She focuses on the architectonic urban space, its changes and the accompanying social changes. In her film works, she combines sequences shot by herself with image and film quotations and with text fragments in the form of a collage, juxtaposing different layers of times and imagery. Romana Schmalisch collaborated on various film projects with Robert Schlicht.
Robert Schlicht (1975)
born and based in Berlin
Robert Schlicht has studied philosophy and literature and graduated from the Humboldt University Berlin. His thesis with the title ?Passage au Cinéma? examined the relation of Walter Benjamin?s film theory and his theory of history and historiography. Subsequently, Robert Schlicht was concerned with the interface of theory and film, and collaborated on various film projects with Romana Schmalisch.
Recent exhibitions/screenings (selection):
National Centre for Contemporary Arts, NCCA, Moscow (2011), centre d?art passerelle, Brest (2010), Proekt_Fabrika, Moscow (2010), Utopiana, Yerevan, Armenia (2009), National Centre for Contemporary Arts, NCCA, Moscow (2009), Centre for Contemporary Art at Ujazdowski Castle, Warsaw (2009), Wilhelm Lehmbruck Museum, Duisburg (2007), STUK Theater, Leuven (2007), Arsenal/Freunde der deutschen Kinemathek, Berlin (2007), Arsenal/Freunde der deutschen Kinemathek, Berlin (2005)

The film ?Preliminaries? traces the history of the statue ?Worker and Kolkhoz Woman? by Vera Mukhina. This statue was originally designed for the Soviet pavilion at the 1937 World Exhibition in Paris, where it stood opposite the pavilion of Nazi Germany, enacting an antagonism that would result in a catastrophic war. It was later moved to Moscow and erected in front of the Exhibition of National Achievements of the Economy, which to the contemporaries appeared as a promise of a radiant future. After World War II, the statue became the emblem of the biggest film company of the Soviet Union, Mosfilm, and is shown at the beginning of every Mosfilm movie since 1947.
In deciphering the statue?s diverse symbolisms and connections to the historical contexts, the film investigates into the notion of future as a central topic in the politics and culture of the Stalinist era. Exploring subjects like the War, Socialist Realism, and show trials, the film attempts to deconstruct a politics of the symbol that results from an ideology of the future, in which the present is neglected since it is considered as nothing but the preliminary future.
Images from present-day Moscow ? the statue in front of a post-Communist amusement park, the surroundings of the Mosfilm studios, and the Red Square populated by Party leader doppelgangers ? are combined with stills from Stalinist films as well as with projected interviews (with Naum Kleiman, Gayane Ambartsumyan, Sergei Nikitin) set up in a situation slightly reminiscent of a trial hearing. The film thus enacts a preliminary inquiry on issues inherent in the notion of a future that is taken for granted and hence doesn?t even need to be realised ? a future that is now our past.

Romana Schmalisch studied Fine Arts at the University of the Arts in Berlin. She was a resident artist in several stipend programs, among others as a researcher at the Fine Art Department of Jan Van Eyck Academy, Maastricht, and in the Berlin Senate`s stipend program in London.
Robert Schlicht studied philosophy at Humboldt University Berlin.
Together they develop projects at the interface of film and theory, investigating cinematic representations and the representability of historical processes and social structures.

Decision of the Party (2008) is a film, which combines Super8 material from today?s Volgograd with parts of the sound track from the Soviet propaganda film The Promise (Kliatva, 1946). In this movie, Joseph Stalin plans and realises ?his? city, Stalingrad (now Volgograd). Thus, the real city of today is juxtaposed with its past medial vision, in turn becoming a projection of its own history within the film.

Real Estate Avantgarde
»Real Estate Avantgarde«, HD, 5:20 min., 2010
?Real Estate Avantgarde? is a fictitious promotion trailer for a real estate investment project in St Petersburg. The investor Igor Burdinsky has purchased the former textile factory ?Red Banner?, a masterpiece of avantgarde architecture, and is now seeking partners to realise a cultural and/or business centre. While the investor draws on the symbolic power of avantgarde architecture, the film in turn appropriates this business strategy.

The film ?Recitando? is the documentation of an encounter between workers from the Moscow paper factory ?October? and two filmmakers from abroad. The film experiments with and combines modes of documentary and fiction, and strategies of theatre and film, in order to investigate into and construct models of cinematography.
The paper production process which seems to be captured in documentary shots is in fact staged for the camera by the workers, since the factory does not pro¬duce anything at the moment ? and this nonproduction is the condition for their appearance as actors in the film. For at the same time, the workers recount and reflect upon their current situation ? being filmed instead of producing paper ? in choric recitations and two songs, delivered in a manner reminiscent of Brechtian ?Lehrstücke?. The customary contrast of documentary and fictional modes, of reality ?caught unawares? and scripted enactment is thus being twisted and deconstructed.
Additionally, the film is continually interrupted by intertitles citing discussions from late 1920s? Soviet cinema ? e. g., about documentarism à la Dziga Vertov and Esfir Shub, about Sergei Eisenstein?s reenactment of the October revolution ten years after the event and the film?s mixed reception, and of the relation between images and text ? thus evoking a friction between early avant-garde cinematography and today?s filmic modes, as well as rendering the question as to who speaks even more uncertain. The two filmmakers may not only come from a different country but even from a different era.
The film thus experiments with different cinematographic models. Instead of pur¬porting to present something which could be considered as a finished film, it at¬tempts to create fissures in the cinematographic texture as spaces for the reflection on different filmic modes, on the interrelations of history of film, and on representa¬tion and reality.
?Recitando? was shot in the Moscow paper factory ?October? (formerly ?Red October?), which was founded in 1924. During Soviet times one of Moscow?s largest paper mills, the residual staff only rarely produces paper today. Parts of the com¬plex have been transformed into the art space PROEKT_FABRIKA, where the film premiered in January 2010.

Romana Schmalisch (1974)
born and based in Berlin
Romana Schmalisch graduated with an MFA from the Universität der Künste, Berlin, in 2002. She focuses on the architectonic urban space, its changes and the accompanying social changes. In her film works, she combines sequences shot by herself with image and film quotations and with text fragments in the form of a collage, juxtaposing different layers of times and imagery. Romana Schmalisch collaborated on various film projects with Robert Schlicht.
Robert Schlicht (1975)
born and based in Berlin
Robert Schlicht has studied philosophy and literature and graduated from the Humboldt University Berlin. His thesis with the title ?Passage au Cinéma? examined the relation of Walter Benjamin?s film theory and his theory of history and historiography. Subsequently, Robert Schlicht was concerned with the interface of theory and film, and collaborated on various film projects with Romana Schmalisch.
Recent exhibitions/screenings (selection):
National Centre for Contemporary Arts, NCCA, Moscow (2011), centre d?art passerelle, Brest (2010), Proekt_Fabrika, Moscow (2010), Utopiana, Yerevan, Armenia (2009), National Centre for Contemporary Arts, NCCA, Moscow (2009), Centre for Contemporary Art at Ujazdowski Castle, Warsaw (2009), Wilhelm Lehmbruck Museum, Duisburg (2007), STUK Theater, Leuven (2007), Arsenal/Freunde der deutschen Kinemathek, Berlin (2007), Arsenal/Freunde der deutschen Kinemathek, Berlin (2005)

The film ?Preliminaries? traces the history of the statue ?Worker and Kolkhoz Woman? by Vera Mukhina. This statue was originally designed for the Soviet pavilion at the 1937 World Exhibition in Paris, where it stood opposite the pavilion of Nazi Germany, enacting an antagonism that would result in a catastrophic war. It was later moved to Moscow and erected in front of the Exhibition of National Achievements of the Economy, which to the contemporaries appeared as a promise of a radiant future. After World War II, the statue became the emblem of the biggest film company of the Soviet Union, Mosfilm, and is shown at the beginning of every Mosfilm movie since 1947.
In deciphering the statue?s diverse symbolisms and connections to the historical contexts, the film investigates into the notion of future as a central topic in the politics and culture of the Stalinist era. Exploring subjects like the War, Socialist Realism, and show trials, the film attempts to deconstruct a politics of the symbol that results from an ideology of the future, in which the present is neglected since it is considered as nothing but the preliminary future.
Images from present-day Moscow ? the statue in front of a post-Communist amusement park, the surroundings of the Mosfilm studios, and the Red Square populated by Party leader doppelgangers ? are combined with stills from Stalinist films as well as with projected interviews (with Naum Kleiman, Gayane Ambartsumyan, Sergei Nikitin) set up in a situation slightly reminiscent of a trial hearing. The film thus enacts a preliminary inquiry on issues inherent in the notion of a future that is taken for granted and hence doesn?t even need to be realised ? a future that is now our past.

Romana Schmalisch studied Fine Arts at the University of the Arts in Berlin. She was a resident artist in several stipend programs, among others as a researcher at the Fine Art Department of Jan Van Eyck Academy, Maastricht, and in the Berlin Senate`s stipend program in London.
Robert Schlicht studied philosophy at Humboldt University Berlin.
Together they develop projects at the interface of film and theory, investigating cinematic representations and the representability of historical processes and social structures.

Arrival, finally again! But where is that? What sort of thing is a piano becoming when being transformed into distorted electronic streams by a
mini-microphone? Elevated randomly from the archive, data have been put together into a memory package. This feeling between the places is, whose
notion the entire metropolitan community can share. All takes have been shot with "handy devices". Time window: 5 years.

Stephana Schmidt was born 1976 in Halle/S., ex-GDR. After various daydreams, music experiments plus an education on classical piano he studied Philosophy and doing Photographs. He graduated in Visual Arts at Bauhaus Weimar and Fine Arts at Beaux Arts Toulouse. Ever since he lives and works as a "Multipurpose Artist" in Berlin running the "Gedankenschmied-Project".

What Else Could This Be is a portrait of a world that exists between childhood and adulthood. This is a view of American youth as seen in the strip malls, the backseats of cars, and the empty parking lots. These youth idly bide their time, waiting to grow up. This film is a meditation on youth, transition, and wanting to connect in the world.

Justin Schmitz is an artist living working in the Midwestern United States. He received a MFA from Yale University in 2013 and a BFA from Columbia College Chicago in 2004. He was awarded the Toby Devan Lewis Fellowship by the Yale University School of Art and the Tierney Fellowship for Excellence in Photography by the Tierney Family Foundation. Justin is also the recipient of The City of Chicago Community Artist Assistance Program Grant, The Union Civic and Art League Scholarship, and The Albert P. Wiesman Scholarship. He was a finalist for the Honickman First Book Prize at Duke University’s Center for Documentary Studies and the Photography Book Now Prize. His work was part of The Museum of Contemporary Photography’s Midwest Photography Project and the Indie Photo Book Library. Schmitz has exhibited around Chicago at C33, The Coat Check Gallery, Gardenfresh, Heaven Gallery, the Evanston Biennial, and Version Festival. His work has been exhibited elsewhere including The Aperture Foundation, Belfast School of Art, and Yale University School of Art.
Schmitz is Currently the Photography Fellow at the Lamar Dodd School of Art at the University of Georgia.

Away From Here is a look at young people growing up in the strip malls, skate parks, back seats, and empty parking lots of the American suburban landscape. This film explores the chasm between childhood and adulthood. In this film a young girl describes a dream in which she can fly. The description of her dream is the basis for exploring the world she and her peers inhabit. This film is a meditation on the reality of dreaming.

Born Peoria, Il 1981
Justin Schmitz is an artist living and working in Chicago, Il USA.
He received a MFA from Yale University in 2013 and a BFA from Columbia College Chicago in 2004. He was awarded the Toby Devan Lewis Fellowship by the Yale University School of Art and the Tierney Fellowship for Excellence in Photography by the Tierney Family Foundation. Justin is also the recipient of The City of Chicago Community Artist Assistance Program Grant, The Union Civic and Art League Scholarship, and The Albert P. Wiesman Scholarship. He was a finalist for the Honickman First Book Prize at Duke University’s Center for Documentary Studies and the Photography Book Now Prize. His work has been included in The Museum of Contemporary Photography’s Midwest Photography Project and the Indie Photo Book Library. Schmitz has exhibited throughout Chicago at Johalla Projects, Gardenfresh, Heaven Gallery, the Evanston Biennial, and Version Festival. His work as also been exhibited at M+B Gallery in Los Angeles, The Aperture Foundation in New York, and Les Rencontres Internationales New Cinema and Contemporary Art Festival in Paris and Berlin.

I was a member of the Max`s Kansas City club 1966-1974.Andy Warhol hung out there until he got shot in 1968.The Velvet Underground continued to go there.Lou Reed & I often said hello.Larry Rivers,Mel Brooks,Janis Joplin, Lauren Hutton,Julian Schnabel sometimes talked.The maitre d`invited me to film an evening with his friends above a bridal gown shop on Orchard St.They somehow got fabrics from the shop.
I brought my Bolex.

?A Weekend at the Beach, w. Jean-Luc Godard?
Del Mar, Calif., USA 1978/1984/2009, 10min. with Godard, Wim Wenders, Heiner Müller and others.
In 1978 I shared a house with Jean Pierre Gorin on the beach in Del Mar, California. We were both professors at the University of California, San Diego. Gorin once worked with Godard on a film and invited him to give a lecture at our school. Godard came and stayed at our house. Other filmworld & creative people came to hear Godard. They also stayed at our house. Among them Wim Wenders, Heiner Müller and Jim McBride. I videotaped some of our time at our house on the pacific ocean beach. By 1984 friends who saw it pressured me to make the tape public. Shortly before I edited it, I had seen some Godard political/very wordy films which I couldn?t stand. I therefore spoke a rather cynical narration.
In 2009 I was asked to include an introductory verbal statement explaining the above & the sarcastic tone of the ?A Weekend at the Beach, w. Jean-Luc Godard?
Del Mar, Calif., USA 1978/1984/2009, 10min. with Godard, Wim Wenders, Heiner Müller and others.
In 1978 I shared a house with Jean Pierre Gorin on the beach in Del Mar, California. We were both professors at the University of California, San Diego. Gorin once worked with Godard on a film and invited him to give a lecture at our school. Godard came and stayed at our house. Other filmworld & creative people came to hear Godard. They also stayed at our house. Among them Wim Wenders, Heiner Müller and Jim McBride. I videotaped some of our time at our house on the pacific ocean beach. By 1984 friends who saw it pressured me to make the tape public. Shortly before I edited it, I had seen some Godard political/very wordy films which I couldn?t stand. I therefore spoke a rather cynical narration.
In 2009 I was asked to include an introductory verbal statement explaining the above & the sarcastic tone of the video. With it the video now runs 10 minutes.

Schneider, born in New York, 1939. Lives in Berlin. Between 1962 and 1968 produced 8 short experimental films including "Lost in Cuddihy" and "The Ghost of Wittgenstein". The installation "Wipe Cycle" produced with Frank Gillette presented in the first video art group show, also including Nam June Paik, N.Y. 1969. Schneider was co-originator & editor of the video journal, "Radical Software". He co-edited "Video Art, an Anthology", N.Y. 1976, with Beryl Korot. The video installation "Time Zones" (in which one could see all around the earth at the same time) was shown in the Whitney Museum 1981 and over the next years in the Palais de Beaux Arte, Brussels and four other museums in Europe. He has been the recipient of Guggenheim and Fulbright Fellowships. He is the Hannah Hoech Prize winner for 2006, Berlin. His ?Manhattan is an Island? installation was presented at the Reina Sofia Museum, Madrid, 2006/2007.
2008 he has participated in group shows at the Les Rencontres Internationales, Pompidou Centre, Paris & 2009 in Madrid.
2009 he was one of the winners of the Celeste Prize, adjacent to the Venice Biennale and videos and installation were shown at Hamburg Documentary Film Weeks Festival.
In 2009 he had solo screenings at the Anthology Film Archives, NYC and a one man show Groznjan, Istria, Croatia.

An experimental, non-narrative film and an information collage of experiences in America of the middle 1960. Juxtaposed are the worlds of politics, anti-Vietnam war protests, the Rock`n Roll scene, and transcendental meditational influences from Asia.
The film was purchased by the New York Museum of Modern Art Archive in 1967.

Schneider, born in New York, 1939. Lives in Berlin. Between 1962 and 1968 produced 8 short experimental films including "Lost in Cuddihy" and "The Ghost of Wittgenstein". The installation "Wipe Cycle" produced with Frank Gillette presented in the first video art group show, also including Nam June Paik, N.Y. 1969. Schneider was co-originator & editor of the video journal, "Radical Software". Schneider`s "Manhattan is an Island" a video installation was exhibited in the Kitchen, Everson Museum in 1974, and at the Whitney Museum, N.Y. in 1977. In 2006 it was purchased by the Reina Sofia Museum in Madrid & exhibited until April 2007. He co-edited "Video Art, an Anthology", N.Y. 1976, with Beryl Korot. The video installation "Time Zones" (in which one could see all around the earth at the same time) was shown in the Whitney Museum 1981 and over the next years in the Palais de Beaux Arte, Brussels, Kunsthalle Mannheim, Museum of Modern Art, Vienna, Nouvelle Museum, Lyon and the Barbican Center, London. He has had exhibitions at the Museum of Image & Sound, Sao Paulo, ZKM, Karlsruhe and has been the recipient of Guggenheim and Fulbright Fellowships. He is the Hannah Hoech Prize winner for 2006. In 2007 & 2008 he has had solo exhibitions at the Wewerka, Lecoq Galerie and Kunstpunkt, Berlin and at the Emily Harvey Foundation, NYC. In 2009 he had solo screenings at the Anthology Film Archives, NYC and Image Movement, Berlin a one man show Groznjan, Istria, Croatia.
2008 he has participated in group shows at the Les Rencontres Internationales, Pompidou Centre, Paris Caixe, Spain Viva Festival, Spain U.FO, Hamburg, Germany ?Inseln ? Archipelle ? Atolle Symposium?, Mannheim Kunstsalon, Berlin photo edition berlin, Berlin L.A. Center for Digital Art, California.
2009 he has participated in group shows Celeste Prize adjacent to the Venice Biennale Les Rencontres Internationales (also included 2010), Madrid and Hamburg Documentary Film Weeks Festival.
2010 Emily Harvey Foundation, video presentation MUMOK, Vienna featured in the "Changing Channels" video history exhibition "Schuster/Schneider 2" group show, Berlin
2010

In a single shot the film shows different time-periods and creates a fairytaile atmosphere. A stillife is presented in an outside garden in front of a modern architecture, that has a fake- wooden-outside design.The paradox longing for both experiencing adventure and wanting to feel at home is part of the children-song.

CV
Corinna Schnitt was born in Duisburg,Germany. From 1989-96 she studied art and film at the Hochschule für Gestaltung, Offenbach and the Kunstakademie Düsseldorf

Eight protagonists distributed over Marls central Rathausplatz in front of the Skulpturenmuseum use megaphones to call out everyday phrases to each other as if they were carrying out a conversation: “ Do you think he will have won the Lotto ” or “ You will have told me much about your experiences“. Formulated in future perfect, these shouts play with the expectation that certain events will have happend by a certain time in the future. This construction has a distancing effect on the here and now and on the ease of normal everyday conversation, showing the extent to which a present experience is determined by expectations of the future.
The use of megaphones seems antiquated today and thus deals ironically with present-day forms of communication. Like on the Web, banal experiences from one`s own life are communicated to an imaginary public without controls or personal contact.
Marl`s Rathausplatz and the Skulpturenmuseum were constructed in the 1970s and document the city`structural rebirth, carried out with the goal of turning the urban core into a vibrant place and optimally combining diverse functions.
Previously regarded as amuch lauded model solution, it is now obvious that the utopian promise of a city that radically deviates from traditional urban structures has not been fulfilled in the long run.

Born in Duisburg, Germany, lives and works in Braunschweig. From 1986 to 1989 apprenticeship as
a carver (diploma), Michelstadt, from 1989 to 1996 studies at the Hochschule fuÌˆr Gestaltung
(Academy for Visual Communication), Offenbach, as well as at the Kunstakademie (Art Academy) in
DuÌˆsseldorf (1995 Masterstudent). Since 2009 Professor for Film/Video at the University of Art
Braunschweig.

Deep Interview represents a conversational situation : not based on identities, but comparing different language systems. The subject of the conversation is going to emerge due to asking questions taken from two different (complementary) contexts: the one mirroring the systemic "need" for monitoring the need for a picture of the EU borders, the other focussing on corresponding unmonitored substances, the needs and perspectives of asylum seekers.
The origin of the video is the plot of a performance based on asking questions and dedicated to practices of (machine-like) monitoring. The origin of the performance plot is a particular text technique suitable technique for unpleasant objects of investigation, which treats them as very literally. Of the so-called deep interview we only experience the questions.
On a more abstract, level Deep Interview enbodies the desire to treat (and deconstruct) the law and its both argumentative and operational logic as an image, shaped in order to define phenomena and entities to be managed.

Part of the artistic production methods of the media artist Susanna Schoenberg are experimental videos and video installations, public actions and camera setups. Her media practise focuses on the idea of emergence (of reality and forms of reality), intermediality and the techno-image. The contingent waiving of technical and conceptual control can be part of her "realistic" (image giving) strategy. In the last years she has been producing works explicitly dedicated to (machine-like) monitoring, in particular of the monitoring of the European borders.

The demise of the `Palace of the Republic` in Berlin, at sunset. This is a portrait of a powerful symbol of nostalgia for the GDR that was re-used, restored and then, eventually, demolished, becoming a changing, magical emblem of the new centre of the city. The last glimpses of its `skeleton` evoke thought-provoking experiences: the last bits of stairwells are reminiscent of other images of ruins, such as Berlin in the 1940s, when it was a bombed-out city, or of the World Trade Center in New York. It also conjures notions of the Romantic era in the 17th and 18th centuries, when ruins where expressly built. "GRUNSKE" is, in an odd way, the name of the sculptor responsible for this accidental monument: it`s the name of a company that recycles metal. Over the course of months, their machinery carried out the contract of dismantling the Palace, for the public good in a public space.

Sabine Schöbel was born in 1962. She works in architecture/design, set design, and ﬁlm studies. Her first film, LUPINEN LÖSCHEN, premiered in 2007 at Forum expanded. Presently she is managing director at Arbeitskreis Film Regensburg / Regensburger Kurzfilmwoche.

While the turbulence that led to the European financial crisis in 2011 raged, a new skyscraper was built for the European Central Bank in Frankfurt. This film was realised using super 8 footage taken over a year observing said construction site. Notions of time and crisis are expressed in the titles of the three chapters: “Exchange rate”, “Slow motion" and "Stills". And more characters appear in this 7-minute-long experimental film in the final chapter "credits.
To conclude, atop a golden dome of the shells of towers, a Greek flag flies high.

Sabine Schöbel is a film studies scholar and artist. She studied History of Art, German, Romance Language Studies and Architecture in Regensburg, Granada, Madrid and Potsdam and completed her doctorate at Frankfurt University on the first generation of female filmmakers in Europe.
Sabine Schöbel work spans film studies, cinema, production design and experimental film. Her films LUPINEN LÖSCHEN, GRUNSKE and HEINRICH are all part of Arsenal’s distribution range. From 2010–2012 she was managing director of the Bundesverband kommunale Filmarbeit in Frankfurt am Main, since 2012, she works at the Berlin University of the Arts.

The Richest Family; The Early Episodes is a project by artist Floris Schönfeld in collaboration with Frank Chu.
At the center of The Richest Family; The Early Episodes is the internal world of Frank Chu, intergalactic movie star and well-known San Francisco Bay Area protestor. Frank believes that he is the victim of an intergalactic conspiracy that is based around him being the star of a popular television sitcom called The Richest Family. This show features him and his family and is recorded without his consent and broadcast to huge audiences in a number of alternate galaxies known as the 12 Galaxies. He can often be found at large public demonstrations in the San Francisco Bay Area protesting for impeachment of various public figures who he sees as complicit in this conspiracy.
For the work The Richest Family; The Early Episodes two bootleg episodes of the television show The Richest Family were made. As well as staring in the episodes Frank was instrumental in the co-directing, and scripting of the pieces together with artist Floris Schönfeld. The Richest Family; The Early Episodes will be the first episodes of The Richest Family to be seen on Earth that have Frank?s full consent.

Frank Chu (b. 1960, Oakland, California, US; based in Oakland) is a professional protester and intergalactic television and movie star. He studied Business Administration at the University of California, Berkeley; California State University, Hayward; Merritt College, Oakland; and Laney College, Oakland, before receiving an Associate?s Degree in Business Administration from The College of Alameda, California, US. Since 1998, Chu has presented his ongoing series of signs in daily protests throughout the San Francisco Bay Area. His work is the subject of "Jretdrostrenikal Exhibitions", an ongoing and undefined solo exhibition at Objectif Exhibitions, Antwerp (2012-ongoing); and he has recently participated in group exhibitions including "Portable Holes", San Francisco Pavilion, 9th Shanghai Biennale, China (2012); "Sõida tasa üle silla (Ride gently over the bridge)", Galerii Noorus, ART IST KUKU NU UT Festival, Tartu, Estonia (2012); and "Psymulation: Reenactments of the Present", Photo Epicenter, San Francisco, US (2008).
Floris Schönfeld (1982) is a visual artist currently based in London and San Francisco. He works mainly with film and performance. The focus of his work in the last years has been the relationship between fiction and belief. In his work he is constantly trying to find the line between defining his context and being defined by it. In 2010, Floris completed the multi-disciplinary project ?u? in which he reconstructed the first ever authentic Klingon opera on Earth and made the film The QiH Act based on the performance of the opera for an entirely Klingon audience. In 2011, he made the film Discours de Fou as part of the International Ghetto Biennale in Port-au-Prince, Haiti and in 2012 he was commissioned to make work for the San Francisco Pavilion at the 12th International Shanghai Biennale. Schönfeld?s work has been shown at many film festivals and intsitutions throughout the world including the Amsterdam Film Biennale, Rencontres International Paris/Madrid/Berlin, the Rotterdam International Film Festival, the Haus der Kulturen der Welt Berlin, the Kassel Documentary & Film Festival (where it was nominated for the A38-Prodcution Grant) and the Kadist Foundation in San Francisco. Floris is currently a graduate fellow at the Headlands Center for the Arts in the San Francisco Bay Area.

Weight is a series of short films that are each based on different excerpts from literature. The selected excerpts served as the scenario for the films, and demonstrate the moments of subtle tension that precede a significant event in the plot. A search for the moment, and for the physical state of the decision making.
Removed from the context of the original story these excerpts are enigmatic, but retain the same tension inherent to their former position. As they start to interact on a suggestive level a new, highly tense, charged story emerges. The project strives to convey the `weight` of the moments without the context of their original narratives.
The series currently consists of four films;
1. Oracle Night based on Oracle Night by Paul Auster
2. Miso Soup based on In the Miso Soup by Rui Murakami
3. End of the World based on Hard-boiled wonderland and the End of the World by Haruki Murakami
4. The Outsider based on The Outsider by Albert Camus

Floris Schönfeld (Houston, VS, 1982) is a visual artist and filmmaker working in Amsterdam and The Hague. He studied time-based arts at the Gerrit Rietveld Academy in Amsterdam and has recently completed a masters at the Interfaculty ArtScience at the Royal College of the Arts/Royal Conservatoire The Hague. In his film and performance work he is primarily concerned with the awesome power of fiction and it?s effects on humanity.
Michaël Sewandono (1979) studied audiovisual art at the Gerrit Rietveld Academy in Amsterdam and he studied at the Escuela Internacional de Cine Y Television de Cuba, Havana. Between 2005 and 2008, he has been working on film projects, commercials and music videos. Sewandono currently works on the completion of short films and the development of two feature films.

A transformation of Nam June Paik`s text "film scenario" into a movie. Hollywood stars speak Paik: "You can make any Hollywood movie interesting, if you cut the movie several times ..." Michael Caine, Humphrey Bogart, Elizabeth Taylor, John Torturro, Katharine Hepburn and other protagonists of mainstream cinema are assembled to speak a text about deconstructing film watching.

Volker Schreiner
video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

?Clips from Curtiz to Lynch, from A Place in the Sun to White Noise. Assembled under
the aspect of the dominating light source in each particular excerpt, which in this unsettling
four minutes work shows off as the merciless ruler over the sound. Or, in the words of
found-footage-virtuoso Volker Schreiner: ?Rooms illuminated by oscilling light, lightened
up in rhythmic intervals by lamps and neon signs or irregular flashes of light . People are
waiting, awaiting, pondering, searching, worrying.??
(catalogue Viennale 10, 2010)

?This is a work based on found footage. Schreiner extracted sequences with numbers from many movies, both classic and obscure. Using these short fragments he compiled a countdown starting from the number 266. A strong effect of suspense is created, the tight-paced montage holding the viewer`s attention.?
(catalogue Invideo, Milan 2004)